This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
Asked ChatGPT4o: “Was there any relationship between Thomas Augustine Arne and Carl Philipp Emanuel Bach?”
There are very few clear records indicating direct interaction or influence between Thomas Augustine Arne (1710–1778) and Carl Philipp Emanuel Bach (1714–1788). However, there are some commonalities and indirect connections in their musical styles and backgrounds.
Arne and Carl Philipp Emanuel Bach were contemporaneous composers who were active in the mid-18th century European music scene. While Carl Philipp Emanuel Bach primarily worked in Germany and Prussia, and Arne gained fame in England, both developed unique styles during the transition from the Baroque to the Classical period.
Arne was primarily active in the British music scene, composing theatrical music, operas, cantatas, and instrumental works. He is especially famous as the composer of the British national song Rule, Britannia! His style incorporated traditional British musical elements with Italian melodic beauty.
In contrast, Carl Philipp Emanuel Bach was a leading composer of the Empfindsamer Stil (Sensitive Style), particularly in keyboard music, where he pursued emotional changes and free expression. In this respect, his music took a different direction from Arneʼs clear melodies.
Connection through London and Johann Christian Bach
Carl Philipp Emanuel Bachʼs half-brother, Johann Christian Bach, was active in London from 1762 and had a significant influence on the British music scene. He composed operas and symphonies in England and was well-received by London audiences. Since Arne was also active in London during this period, there might have been indirect influences through Christian Bach.
Influence in Keyboard Music
Arne also wrote keyboard works, and it is possible that he was exposed to the free ornamentation and expressiveness found in Carl Philipp Emanuel Bachʼs keyboard music. However, Arneʼs keyboard music was primarily based on the British style of the time (influenced by Handel and Scarlatti), making a direct connection with Carl Philipp Emanuel Bachʼs innovative writing unlikely.
Carl Philipp Emanuel Bachʼs works were highly regarded throughout Europe in the late 18th century. It is certain that his music was known in England, particularly through Johann Christian Bach, who was active in London. While Arne may have been influenced by this, it is unclear whether he consciously incorporated Carl Philipp Emanuel Bachʼs style.
There is no evidence of direct interaction or influence between Thomas Augustine Arne and Carl Philipp Emanuel Bach. However, both were active in the same era, and there might have been indirect connections through Johann Christian Bach. In terms of musical style, Arne emphasized clear Italianate melodies, while Carl Philipp Emanuel Bach pursued dramatic expression in the Empfindsamer Stil, leading to different stylistic directions.
Asked ChatGPT4o: “Was there any relationship between Thomas Augustine Arne and Christian Bach?”
There are no clear records indicating direct interaction or collaboration between Thomas Augustine Arne (1710–1778) and Johann Christian Bach (1735–1782). However, both were active in London during the same period, suggesting a possible connection.
Arne was a prominent 18th-century British composer, based in London, composing theatrical music, operas, sacred music, and keyboard works.
Christian Bach moved to London in 1762 and became known as the **“London Bach.”** He composed operas, symphonies, and keyboard concertos, exerting significant influence on the London music scene.
Both Arne and Christian Bach were interested in opera and theatrical music, deeply involved in Londonʼs theater culture.
Arne was a central figure in the British music scene, composing many theatrical works, including the famous “Rule, Britannia!”
Christian Bach achieved success in London as a composer of Italian opera, particularly known for his work at the **“King’s Theatre.”**
Christian Bach composed Italian-style operas in London, garnering support from the aristocracy. Meanwhile, Arne emphasized British traditions while also being influenced by Italian music.
In the 1760s and 1770s, there was a conflict in London between Italian opera and British musical traditions. Arne, as a national composer, might have been in indirect competition with Christian Bach, who leaned towards Italian opera.
Similarities:
Both were influenced by Italian music, employing clear melodies, lively rhythms, and elegant ornamentation.
Differences:
Christian Bach fully embraced the Italian opera style, adopting clear Italian forms in his symphonies and concertos. In contrast, Arne developed a unique style that fused traditional British music with Italian elements.
No existing records show direct collaboration between Arne and Christian Bach. However, given the relatively small community of the London music scene, it is plausible that they were aware of each other or shared the same spaces.
While there are no records of direct interaction between Thomas Augustine Arne and Johann Christian Bach, it is highly likely that they were indirectly related through their simultaneous activity in London and involvement in opera and theatrical music. Additionally, while Arne emphasized British traditions with Italian elements, Christian Bach fully embraced Italian music, potentially creating a competitive dynamic due to their stylistic differences.
Asked ChatGPT4o: “Why did Thomas Augustine Arne leave so few concertos or solo pieces for the harpsichord?”
Several factors might explain why Thomas Augustine Arne (1710–1778) left only a few concertos or solo pieces for the harpsichord.
Arne was a composer who primarily focused on theatrical and vocal works in the 18th-century British music scene.
His reputation was established through operas, masques, oratorios, and incidental music.
His famous work “Rule, Britannia!” is part of theatrical music and contributed to his status as a national composer in British music history.
In England at the time, there was a particularly high demand for theatrical music, making it more practical to compose for the theater than for solo harpsichord pieces or concertos.
During the 18th century in England, the field of keyboard music was dominated by other composers, possibly leading Arne to not engage actively in it.
In England, composers like John Stanley (1712–1786) and Thomas Roseingrave (1690–1766) were prominent in the field of keyboard music.
There was a strong influence from Domenico Scarlatti, and virtuoso sonatas were favored among English music enthusiasts.
Additionally, Handelʼs keyboard works were widely popular, making it difficult for Arne to establish a unique position in keyboard music.
In mid-18th century London, the demand for theatrical music was higher than for keyboard music.
While France and Germany developed a tradition of harpsichord solo pieces and concertos, in England, organ music and theatrical music influenced by Handel were more central.
Thus, Arne might have focused on more lucrative theatrical music rather than keyboard music.
Although Arne was known as a keyboard player, his main instruments were the virginal and spinet, and he might not have been interested in composing large-scale works for the harpsichord.
His keyboard works were mostly small-scale pieces intended for home performance, suggesting he might not have been motivated to write large-scale harpsichord concertos.
Johann Christian Bach (1735–1782) was active in London during the same period as Arne and actively composed Italian-style keyboard concertos.
Christian Bachʼs keyboard concertos were influenced by the development of the fortepiano, and the role of harpsichord solo pieces and concertos was changing.
In contrast, Arne was not as active in music featuring keyboard instruments as the main focus, resulting in fewer works in this area.
The reasons why Thomas Augustine Arne left only a few concertos or solo pieces for the harpsichord can be summarized as follows:
Focus on Theatrical Music → His career was primarily centered on operas and theatrical music, with less emphasis on keyboard music.
The State of Keyboard Music in England → The influence of established composers (Handel, Scarlatti) was strong, making it difficult to establish a unique position in keyboard music.
Relatively Low Demand for Harpsichord Music → In England, theatrical music was prioritized over keyboard music.
Arneʼs Personal Interest in Keyboard Instruments → His keyboard works were mostly small-scale, home-oriented pieces, lacking motivation for large-scale harpsichord concertos.
Contrast with Christian Bach → Unlike Christian Bach, Arne did not pursue new keyboard music in the fortepiano era.
As a result, Arneʼs involvement in harpsichord music remained limited, and he focused on theatrical music.
Asked ChatGPT4o: “What are some of the small-scale keyboard works Thomas Augustine Arne composed for home performance?”
Thomas Augustine Arne (1710–1778) composed several keyboard works intended for home performance. Among the most well-known is the **‘Eight Sonatas of Lessons for the Harpsichord’**. This collection was published in 1756 and includes the following sonatas:
Sonata No. 1 in F Major
Sonata No. 2 in B-flat Major
Sonata No. 3 in G Major
Sonata No. 4 in D Major
Sonata No. 5 in A Major
Sonata No. 6 in E Major
Sonata No. 7 in C Major
Sonata No. 8 in D Minor
These sonatas were composed with the intention of being performed in domestic settings for musical activities or educational purposes, played on keyboard instruments such as the harpsichord or spinet. Each sonata consists of multiple movements and features characteristics of the transition from the Baroque to the Classical period.
These works are still recorded and performed today, with a complete performance by Ewald Demeyere available on YouTube. This recording allows listeners to appreciate the delicate expression and compositional techniques of Arne.
Asked ChatGPT4o: “What is the form of these sonatas?”
Thomas Augustine Arneʼs (1710–1778) ‘Eight Sonatas of Lessons for the Harpsichord’ is a collection published in 1756 in London. Each sonata was composed for home performance and education, featuring characteristics of the transition from the Baroque to the Classical period.
Each sonata consists of 2 to 4 movements, with the following forms and characteristics:
Sonata No. 1 in F Major
1st Movement: Andante
2nd Movement: Adagio
3rd Movement: Allegro
Sonata No. 2 in E Minor
1st Movement: Allegro
2nd Movement: Andante
3rd Movement: Gigue
Sonata No. 3 in G Major
1st Movement: Allegro
2nd Movement: Andante
3rd Movement: Allegro
Sonata No. 4 in D Minor
1st Movement: Allegro
2nd Movement: Andante
3rd Movement: Allegro
Sonata No. 5 in B-flat Major
1st Movement: Allegro
2nd Movement: Andante
3rd Movement: Allegro
Sonata No. 6 in G Minor
1st Movement: Allegro
2nd Movement: Andante
3rd Movement: Gigue
Sonata No. 7 in A Major
1st Movement: Allegro
2nd Movement: Andante
3rd Movement: Allegro
Sonata No. 8 in G Major
1st Movement: Allegro
2nd Movement: Andante
3rd Movement: Allegro
These sonatas are characterized by clear melodies and harmonies, and an approachable structure, making them suitable for amateur musicians and students of the time. Each movement features simple and understandable structures, such as dance forms and binary forms, with an educational aspect.
Today, these sonatas are performed on both harpsichord and piano, cherished as valuable works that convey the musical style and atmosphere of domestic music from that era.
A complete performance of these sonatas by Ewald Demeyere is available on YouTube, allowing listeners to enjoy the delicate expression and compositional techniques of Arne.
Thomas Augustine Arne: Eight Sonatas for the Harpsichord Full Performance